The goal in any non-fiction writing is to compose clear, cogent, and inductively strong prose. There are distinct levels of process that a writer must navigate to attain this standard. 

    First, any piece of non-fiction writing should have a clear (and, usually, limited) thesis. This is true even for an undergraduate admissions essay. The construction of a workable thesis falls under the realm of developmental editing. The development and support of a core, guiding concept is ongoing as a piece of writing is composed and edited.

     A successful essay, article, or book should continually and powerfully make reference to, shape, and support the thesis put forward. Once an initial draft is completed, it is necessary to evaluate if and to what degree this goal has been achieved. Ideally, the generality of the thesis has been represented in myriad relevant particulars before a conclusory return to the thesis. The editor’s role in this stage is called “substantive editing”. The depth and breadth of an editor’s knowledge, their analytical ability, and their intuitive understanding of the various conjunctive elements of writing all determine the level of success that can be achieved through substantive editing.

    The first two types of editing outlined, developmental and substantive, represent “big” steps; they involve the formation and articulation of a core idea. If a piece of work has accomplished the latter, then its grammar, punctuation, and citation-style must be thoroughly examined. This is known as copy editing and is the “polish” of a written work.

    Each of these components determines the strength and value of a piece, and each is mutually reinforcing. A strong thesis without particularities has little value. A work that has been carefully and accurately copyedited must have meaningful content to serve its purpose. My role is to see to it that all of these elements are managed effectively.